Jim Steinman had a vision. It was a big one. It was loud, crashing, and deeply emotional. Most people hear those opening piano chords and immediately think of Celine Dion. She made it a global smash in 1996. But for those who live and breathe the world of Wagnerian rock, the story of It’s All Coming Back to Me Now Meat Loaf is the real legend. It’s a tale of a decades-long tug-of-war between a composer and his muse.
Music isn't just notes on a page; it's timing.
Steinman wrote the song while he was sequestered away, influenced by Wuthering Heights and the idea of a love that refuses to stay dead. He didn't write it for a pop princess. He wrote it for the man who voiced Bat Out of Hell. However, the journey from Steinman’s brain to Meat Loaf’s vocal cords took roughly thirty years. That’s a long time to wait for a song.
The Battle Over the Masterpiece
Meat Loaf wanted this song. He wanted it bad.
He once said that it was the one song he was "most jealous" of in his entire career. When he heard Steinman’s demo, he knew it was his. It fit his persona—the melodrama, the sweat, the theatrical pauses. But Steinman was a perfectionist and, frankly, a bit stubborn. He felt the song was meant to be the "most passionate, romantic song" he’d ever written, and for reasons that still spark debate among fans, he didn't give it to Meat Loaf in the late 70s or 80s.
Steinman actually took the case to court. He wanted to ensure he had total control over who recorded it first. He eventually gave it to a girl group he formed called Pandora’s Box for their 1989 album Original Sin. If you haven't heard that version, go find it. It’s dark. It’s gothic. It’s over seven minutes of pure, unadulterated Steinman energy.
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Then came Celine.
In 1996, her version conquered the charts. Meat Loaf was crushed. He famously remarked that Jim had told him the song was intended for Bat Out of Hell II: Back into Hell, but they ended up using "I'd Do Anything for Love (But I Won't Do That)" instead.
Why the Meat Loaf Version Hits Differently
When we finally got the It’s All Coming Back to Me Now Meat Loaf version on Bat Out of Hell III: The Monster Is Loose in 2006, the vibe shifted. It wasn't just a cover. It was a homecoming.
Recorded as a duet with Marion Raven, the track takes on a narrative quality that a solo performance just can't touch. It becomes a conversation. A ghost story. You can hear the gravel in Meat’s voice—a voice that had aged, seen some things, and survived a few metaphorical (and literal) crashes.
- The Arrangement: It’s heavier. The guitars aren't just there for texture; they bite.
- The Acting: Meat Loaf never just sang a song. He inhabited it.
- The Length: It stays true to the epic proportions Steinman loved, clocking in at over six minutes.
Some critics at the time thought it was "too late." They were wrong. For the fans, it was the closing of a circle. It proved that Steinman’s writing and Meat Loaf’s delivery were a singular force of nature that couldn't be replicated, even by the best singers in the world.
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The Ghost of Jim Steinman
You can’t talk about this song without talking about the friction between these two men. They were like brothers who couldn't stop fighting but couldn't live without each other. Steinman’s production style was often called "The Wall of Sound on steroids." He wanted every instrument to be at volume 11.
Meat Loaf was the only one who could stand in the middle of that noise and not get drowned out.
When they were recording Bat III, the relationship was strained. There were lawsuits over the "Bat Out of Hell" trademark. Yet, the music remained the bridge. When you listen to the 2006 recording, you aren't thinking about legal briefs or royalties. You’re thinking about the "touch and the go." You’re thinking about "the flash of the light."
Why This Song Matters in 2026
Legacy is a funny thing. We live in an era of 15-second TikTok clips and "vibey" lo-fi beats. It’s All Coming Back to Me Now Meat Loaf stands in direct opposition to everything trendy. It is unapologetically long. It’s dramatic. It’s "cringe" to people who don't like feelings, but it’s life-blood to people who do.
In a world of AI-generated hooks, the raw, bleeding-heart sincerity of this track is a reminder of what human performance actually looks like. It’s messy. Meat Loaf’s breathing is audible. The transitions are jarring. And that is exactly why it works.
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Key Facts About the 2006 Release
- Album: Bat Out of Hell III: The Monster Is Loose
- Producer: Desmond Child (who brought a slightly more "glossy" rock feel compared to Steinman’s raw production)
- Co-Vocalist: Marion Raven, a Norwegian singer who was only 22 at the time, providing a stark contrast to Meat Loaf’s seasoned growl.
- Music Video: Directed by P.R. Brown, it features a haunting, gothic aesthetic that mirrors the lyrical themes of memory and loss.
What Most People Get Wrong
People think Celine Dion's version is the "original." Technically, Pandora's Box is the original. But spiritually? Spiritually, the song always belonged to the Bat.
There's a common misconception that Meat Loaf only recorded it because he was running out of ideas. Honestly, it was the opposite. He recorded it because he felt he had been robbed of it for decades. It was a reclamation. If you listen to the two versions side-by-side, Celine’s is a technical marvel—her vocals are flawless. But Meat’s version is a theatrical experience.
It's the difference between looking at a painting of a storm and standing out in the rain.
Actionable Insights for the Modern Listener
If you want to truly appreciate the depth of this song and the Meat Loaf/Steinman legacy, don't just stream it on your phone speakers.
- Listen to the "Original Sin" version first. Understand the gothic roots of the song through Pandora’s Box.
- Compare the vocal dynamics. Notice how Marion Raven pushes Meat Loaf. He was older here, and he had to work harder for the high notes, which adds a layer of desperation that fits the lyrics perfectly.
- Watch the 1978 "Bat Out of Hell" live performances. This gives you the context of what Meat Loaf was capable of when Steinman first wrote the song. You'll see why the two are inextricably linked.
- Read the lyrics as poetry. Strip away the drums and the guitars. Steinman was a student of literature. The lyrics "There were nights of endless pleasure / It was more than any laws allow" aren't just pop filler; they are pure Romanticism.
The story of this song is a reminder that some things are worth waiting for. Even if it takes thirty years. Even if you have to fight your best friend in court to get there. In the end, the music outlives the drama.
Go put on a pair of high-quality headphones. Turn the volume up higher than you think you should. Let the drums kick in around the three-minute mark. You'll realize that it wasn't just coming back to him; it was coming back to all of us.